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Winding (Nelson): Three Fantasy Pieces, op. 19 for violin and piano

Code: JP9021

Publisher: Jeanne Inc.
ISMN: 979-0-3019-0550-0

PRICE: $22.50

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Product Description

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Danish pianist and composer August Hendrik Winding
(1835 – 1899) enjoyed considerable acclaim during his
lifetime, though his name and works were consigned to
obscurity for the majority of the past century. A
student of the great Romantic composers Niels Gade and
Carl Reinecke, Winding taught at the Copenhagen
Conservatory from 1867, eventually succeeding Gade as
director of the conservatory in 1891. He remained in
this post until his death.

Winding composed symphonies, piano concerti, chamber
works, songs, and piano works. His works elicited praise
from Hugo Riemann, whose encyclopedia (1900) describes
him as a “productive and remarkable composer,” and Hans
von Bulow, who specifically mentions the Drei
Phantasiestucke among a number of Winding’s “notable
compositions” in his 1882 Skandinavischen
Concertreiseskizzen.

Winding composed his Drei Phantasiestucke, Op. 19
in or around 1871 and published the work through Kistner
(Leipzig) in 1872 with both solo clarinet and solo violin
parts. Drei Phantasiestucke was undoubtedly
influenced by the burgeoning genre of fantasy pieces for
clarinet and piano established by Schumann (1849), Gade
(1864), and Reinecke (1865). Though Winding’s harmonic
progressions venture beyond the conservatism of his
teachers and foreshadow works by later Danish composers,
his pieces possess a characteristically clear formal
scheme and contrapuntal texture.

This edition is based on the the 1872 Kistner first
edition of Drei Phantasiestucke. It has been
edited by Matthew Nelson who has corrected a few errors
and resolved several inconsistencies in the dynamics,
articulation, rhythms, and beaming that exist between
parts in the first edition. Nevertheless, some rhythmic
and phrasing inconsistencies appear intentional, and
have not been altered in the present edition.

The violin’s original bowings and string indications have been retained,
but the original fingering suggestions in both the piano and violin scores
(with the exception of open string indications) have been ommited.